Jen­nifer Coron­ado

ILM’s global art depart­ment man­ager talks legacy

ImagineFX - - Industrial Light & Magic - For­merly a moder­a­tor for Lu­cas­film’s Speaker Se­ries and a se­nior man­ager at ILM, Jen­nifer is now the com­pany’s global art depart­ment man­ager.

Why does ILM have a global art depart­ment?

The art depart­ment is al­ways op­er­at­ing in pants on fire mode. We can’t fore­cast when we might get a call from a di­rec­tor, so we have to be flex­i­ble. A di­rec­tor might need four artists on a show start­ing right now. Four stu­dios in four coun­tries gives us more reach to find re­sources.

Are the artists all on a pipe­line?

We’re pipe­line ori­ented in vis­ual ef­fects, so if you start build­ing some­thing in the pipe­line, you can go back 50 it­er­a­tions. But we keep the artists slightly sep­a­rate. We don’t want them bogged down in shots. They need to be freeform and loose, to get to the tar­get fast by do­ing con­cepts quickly. Even when they work in 3D, it’s very kit­bash­ing. Some artists use Maya, some 3ds Max, Modo, ZBrush, Cinema 4D, Poser, SketchUp, Photoshop. One artist won’t give up Sof­tim­age XSI. The im­age is what’s im­por­tant. It’s usu­ally a hy­brid of 3D and 2D.

Do they col­lab­o­rate across stu­dios?

Ev­ery­one is hands on. We al­ways part­ner an art di­rec­tor with a con­cept artist, and art di­rec­tors work with and men­tor peo­ple in dif­fer­ent stu­dios. We have to work that way to be flex­i­ble. There are time zone is­sues, but it’s im­por­tant ev­ery­one feels part of a team. We do weekly calls and up­dates, and monthly re­views with Den­nis Muren. He has a great eye for cinema. He knows how to cre­ate a fo­cal point for a frame. If you aren’t do­ing that, you’re fail­ing. I don’t want artists to for­get what came be­fore, to lose peo­ple’s wis­dom. We’re all here be­cause Ge­orge Lu­cas had an idea.

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